Monkey Gone To Heaven (Pixies)

TOMORROW MAY NEVER COME feat Styles P, A$AP 12vy and CharlieRED
Piano by Joseph "Thelonious" Harley
Sax by Kenneth Whalum III
Additional Recording at Flux Studios NY, PoloGround Studios and 
Rubber Tracks NY by Benjami Julia


02 Tomorrow May Never Come Feat Styles P, A$AP 12vy And CharlieRED

Self Harmonic - No Pretense [feat. Cage]

Interpol - Turn On The Bright Lights - 01 Obstacle 1

Interpol - Everything Is Wrong

Like letters typed in secrets

It’s San Francisco in 1966 and we’re lying in the long grass overlooking the bay realising that life might never get better than this. Same year, different location. We’re walking down St. Mark’s Place in New York towards the Dom, where the Velvet Underground are performing this very evening. Post-punk London: pop possibilities, psychedelic outcomes, unsteady futures. Connecticut 2004, a collegiate idyll and meeting point for Andrew VanWyngarden and Benjamin Goldwasser whose primordial wigouts are released under the name MGMT.

Lysergic mgmt diethylamide: this music is for those who know their Orange Sunshine from their Windowpane. Drenched in pop as much as psychedelia, they don’t need a map and compass to find the tunes. MGMT formed at Wesleyan University in Connecticut and after some indie activity soon caught the attention of Columbia who have so far released the first two albums, the aptly-named Oracular Spectacular and Congratulations. There have been Grammy nominations (and even a Grammy win for Justice’s remix of ‘’Electric Feel’), though these are mere fripperies in the face of Owsley Stanley and his pals.

Although their sound has morphed considerably over the first two LPs, their attitude has not. In ‘Song For Dan Treacy’, they show their affection for a certain type of British songwriter (Treacy’s band TV Personalities are included here), while Congratulations’ producer Peter Kember is a former member of the Spacemen 3, the best psychedelic band ever to come from Rugby – who also figure on this very compilation with the delightful ‘Lord Can You Hear Me’.

They are firstly fans of other people’s records, those MGMT boys. You can tell by the impressive depth of their selections and by how sympathetic this music sounds when blended together. We can’t overlook the tremendous contributions of the English psych aristocracy hereabouts. There is the Droolian himself Julian Cope whose song, ‘Laughing Boy’, is taken from his finest hour Fried. Then there’s the unbearably cultish Felt, featuring the wonderful Lawrence Hayward, with ‘Red Indians’ and Vini Reilly (aka Durutti Column) with the slinky ‘For Belgian Friends’. If Syd Barrett, Kevin Ayers and the Singing Policeman had been present, the eccentrics of Great Britain Society would have had a quorum.

But that is not all. Oh no. That is not all… There’s the other side of the pond, too. The Grace Slick-led Great Society’s ‘Love You Girl’ and Suicide’s Martin Rev who weighs in with the magnificently batty ‘Sparks’ from 2000’s Strangeworld. But then, just when you think you’ve get them all figured they go and throw rockabilly hero Charlie Feathers into the ring. To top it all, there’s also their reading of Bauhaus’ uncharacteristically beautiful ‘All We Ever Wanted Was Everything’ for our now traditional Late night Tales cover version. TKO MGMT.

Gently remove your I Was Lord Kitchener’s Valet army uniform. Take a sip of green tea, lie back on the chaise longue and wait for the magic carpet to arrive. Let’s take a trip.

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
SoundCloud: http://soundcloud.com/latenighttales
YouTube: http://youtube.com/latenighttalestv
Instagram: http://instagram.com/latenighttalesofficial
Spotify: http://goo.gl/Q98T7d
Apple Music: https://music.apple.com/us/curator/late-night-tales/1233898093
Bandcamp: https://latenighttales.bandcamp.com/

MGMT - All We Ever Wanted Was Everything [Bauhaus Cover] (Late Night Tales: MGMT)

KILL YO SELF

interpoL - a time to be so smaLL

Interpol - Leif Erikson

Segundo sencillo que se desprende del disco homónimo de Interpol, que ve a una banda renovada y nuevamente experimental. El disco saldrá en nuestro país éste 07 de septiembre.

Interpol - Barricade

Obstacle 2 (Peel Sessions)-Interpol

My Name Is pt.2 - Feat. Joell Ortiz & Tego Calderon (Pord. Very Rvre)

INTERPOL RELEASE NEW SINGLE “LIGHTS” ON MARCH 21st 2011



“A stunning performance from a band very much at the apex of their career.” The Fly
"Interpol's future is secured…" NME 
" Interpol are back with their fourth (eponymous) album. It's a richer, more textured post-punk affair that should take Paul Banks and Co to the next level….a stadium band in the making, if they choose to be." The Daily Telegraph 
"These Big Apple indie rockers kick off their upcoming album with this rich and punchy new single (Barricade), which is one of their strongest to date." The Sun  “…quite magnificent…” Evening Standard
"…another album of exquisitely anguished atmospherics." - Independent On Sunday 
Interpol swiftly become a byword for cool…trendsetters in their own right, inspiring the musical zeitgeist of the day and paving the way for a whole host of acts." Clash 
"New York's finest." - News Of The World

“Deep within the inner chambers of the Three-Horned Rhinoceros Beetle (Chalcosoma Caucasus), a closely guarded pheremone-harvesting ritual is about to begin.”



Interpol release their new single “Lights” on March 21st 2011, through Soft Limit / Co-Operative Music as a digital download only. The third single to be taken from their eponymous fourth album, “Lights” encompasses Daniel Kessler’s distinct guitar tones with the potency of Paul Banks brooding vocals, combining to climax after 5 minutes and 38 seconds of eerie intensity.

The accompanying video – directed by visual artist Charlie White – exploits the relationship between sex and death, and explores the release of pheremones within the uncharted world of the Three-Horned Rhinoceros beetle. Considered the muse throughout the production process, the beetle was the perfect compliment to the dominance of black that constantly surrounds Interpol.

View the HD video for “Lights” here: www.interpolnyc.com/videos/lights

Having recently sold out three nights at Brixton Academy on the UK leg of their tour and fresh from supporting U2 throughout Europe, Interpol return to the UK this March to play the following dates:


March 2011 18/03	Bournemouth Academy 19/03	Bristol Colsten Hall 20/03	Cambridge Corn Exchange 22/03	Leeds Academy




www.interpolnyc.com    
For further information please contact Murray Chalmers PR:
 
0207 2909 590
 
murray@murraychalmers.com jon@murraychalmers.com sarah@murraychalmers.com frazer@murraychalmers.com


Interpol - Turn On The Bright Lights - 01 Obstacle 1

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